Ever wondered how star sapphires get their stars? It's created by an optic feat called asterism, from the Latin astrum meaning star. For a star sapphire to appear, the stone must have spindly, needle-like inclusions of a mineral called rutile that grow and intersect each other within corundum, the mineral we know as sapphire and ruby (yes, star rubies are also possible!)

To cut a perfect star is no easy feat. After determining that a star is even possible, due to a sheen on the rough gemstone, a lapidary must find the gemstone’s optic axis, and then begin to fashion the stone into a rounded cabochon shape. High quality star sapphires are cut to center the stone’s asterism as perfectly as possible in the middle of the cabochon, and keep the points of the star of similar length. The higher the dome of the cabochon, the less the star will ‘move’ under a light source or when rotating the gemstone at different angles.

Snug in a platinum, diamond accented mounting, our Art Deco star sapphire ring was most likely designed for the stone set into it. The underside of the cabochon is rough and uneven to keep the rutile inclusions needed for a lovely, strongly visible star.

And, for a little gemstone bling, take a look at some of the most famous star sapphires, one of which is on display here in New York!:

The Star of India, which lives in New York's American Museum of Natural History, is 563 cts.

The Black Star of Queensland, no longer on public display, is 733 cts.

Gleaning the styles of the day from Victorian portraiture and photography, it seems like the order of the day was swirling rolls and curls laboriously piled atop the head in any number of different ways! When sitting for these images, women would have worn their most flattering styles, adorned with their most fabulous accessories, giving us a window into the world of antique hair styling. Here, we take a quick look back at two of our favorite Victorian accouterments: hair combs and antique barrettes.

Some of the loveliest and most popular material we find them in are tortoiseshell and horn. The ‘Tortoise’ name is misleading, as these pieces were actually made from sea turtle shells, a source of material beauty since ancient times. Imported tortoiseshell could fetch high prices, so horn was painted to achieve a similar mottled effect. Both were popular until toward the end of the 19th century, when Art Nouveau jewelers began favoring lighter colors.

Art Nouveau horn barrette c.1880 - the rose cut diamond-set 10K gold frontspiece is delicately riveted to the horn. The horn would most likely have been bleached with hydrogen peroxide to achieve the pale yellow hue.

Barrettes, an evolution of the hairpin, were developed in the mid to late-19th century to help hold hair in place. They were decorated so that they did not have to be hidden within the hairstyle, a combination of form and function that we still appreciate today!

Across the 19th century, the tortoiseshell hair comb remained a hairdressing staple to both hold hair in place and provide support as styles oscillated between opulent and austere. While the decorative comb has waned in popularity since, the beauty of tortoiseshell endures today in any item inspired by its coloration.

We’re always pleased when jewelry reveals some of it secrets through hallmarks, maker’s marks and engraved details. However, some jewelry are meant to keep secrets; artisans have built compartments to protect the wearer’s valuables and tokens of significance, and encase them in some seriously fabulous materials.

Coach cover with the old mine cut diamond earring it encased, from the Gray & Davis archives.

Fashionable and functional in the 19th century, “Coach covers” are attachable orbs that cloaked valuable earrings to protect the wearer in transit (we assume from villainous highwaymen). Once the wearer arrived at her destination, she could remove the covers and let her diamonds out.

A 15K gold brooch pendant with its original pin and catch made c. 1860.

The brooch pendant's secret locket compartment, now fitted with a piece of brocade.

Jewelry that incorporated a loved one’s hair became popular in the seventeenth century and remained in fashion until the end of the nineteenth century. Pieces could be given as both a sentimental gesture (Queen Victoria gave hair jewelry throughout her life) or included as part of mourning jewelry to further personalize the token of remembrance. Jewelry with a glass plate built in, as well as some daintier antique lockets, most likely held beautifully woven hair; period jewelers were skilled at braiding and working it into compartments of brooches, pendants and rings.

A 15K rosy gold locket ring with a buckle design and hand engraving, made c.1830.

Buckle ring hides woven hair around the band's center.

Small ring compartments may have held other secrets besides hair. Rings crafted with a small lidded compartment for herbs, or something more sinister, are mentioned in ancient texts. Famous locket ring wearers included Elizabeth I and members of the powerful Borgia family. The ring’s use in fictional and real life drama buoyed their popularity in the 16th through 19th centuries.

Larger locket pendants became fashionable c. 1860-1880, coinciding with increasing availability of portrait photography – for the first time, images could be created and mounted into jewelry that didn’t require the skill of a miniature portrait painter. Today, with the help of image resizing, we can put pictures into those small jewelry compartments so they may once again hold treasured mementos.

A visit to the jewelry collection at London’s Victoria & Albert Museum should be on the bucket list of any antique and vintage jewelry lover. The 3,000+ piece collection is a veritable trip back in time, offering the opportunity to see jewelry history from 1500BC to today, and the designs and trends that influenced our favorite pieces from the Georgian, Victorian, and Art Deco periods.

The museum’s collection is a testament to both craftsmanship and care. Most pieces are in excellent condition and several were donated from what must have been spectacular personal collections. It’s easy to be entranced as you learn about the evolution of design and gemstone cutting, and the expansion of materials available to craftsmen through the ages – as shown by the pieces themselves.

Curators did not scrimp on the details: each case provides information on notable historical and cultural events that steered trends, such as why iron jewelry was created during the Napoleonic Wars, and brief biographies of influential craftsmen and designers. For those who crave item specifics, each case has a binder with a complete listing for each piece.

Etruscan gold rosette made in Tuscany c. 500-400 BC.

Gold earrings made by Castellani's student Carlo Giuliano c. 1865.

To first see original Etruscan gold granulated wire work c.300 BC, and Castellani’s 19th century Etruscan Revival cannatile jewelry later on, is a real treat. Other collection highlights include incredibly detailed ancient gold chains, the Canning Jewel (a merman brooch with a large natural pearl torso), Art Nouveau enamel designed by René Lalique, and floral diamond tiaras with moving parts (en tremblant) for extra sparkle.

The Canning Jewel, most likely of European origin c. 1800-1865, with enameled gold, natural pearls, table cut diamonds and Indian rubies.

Lalique enamel, opal and horn bodice ornament c. 1903

Western European diamond tiara c. 1835

Smaller exhibits are organized around different themes, bringing the jewelry’s symbolism and personal significance to life. “Cradle to the Grave” highlights materials and designs believed to be integral to different stages of life: from shell fertility amulets to protective figa pendants to jet and onyx mourning jewelry.

For those wanting to test their gemstone knowledge, a 154 piece collection donated to the museum in 1869 by Rev. Chauncy Hare Townshend displays a range of precious and semiprecious stones mounted in gorgeous rings. The swirling, colorful display of sapphires, tourmalines, garnets and more is a spectacular reminder that certain gemstones can surprise you in their range of naturally occurring colors.

The Townshend gemstone collection was supplemented by a donation from A. H. Church in 1913. Church also compiled the first catalog of the museum's collection.

It’s also worth it to watch the intermittent video demonstrations, showing how artisans craft items such as enamel jewelry and pocket watch casings. Sadly, museum staff strictly enforce a no photography policy, so while you can’t take any pictures of your favorite pieces, an afternoon learning about them in this temple to personal adornment is a truly wondrous experience.

Some pieces are amazing because they are comprised of incredible materials, some because they are difficult to create, and some because they can tell a story about a minute in history. This is one of those pieces.

A little back story- Discoveries of ancient artifacts have strongly influenced jewel making and there were two great periods of Egyptian revival. In the 1860’s the French were excavating for the Suez Canal and discovered Egyptian jewelry. It was so wonderfully exotic and unique it quickly became a popular trend and was reproduced in all shapes and sizes. In 1922 King Tut’s tomb was discovered and again brought the Egyptian style to the spotlight.

This bracelet dates to this later period of Egyptian Revival. It is silver, and has hallmarks indicating it was made in Cairo, Egypt and was imported into Nice, France in the early part of the 20th century, presumably the 1920’s. The Pliqué a Jour enamel and the imagery is just spectacular and even better we know what it means!

All the imagery of this bracelet actually depicts King Tutankhamun and findings within his tomb.

Starting on the Left- A painted alabaster unguent jar with a crouching lion on the lid. This jar would have been used to hold cosmetics and was found in King Tut’s tomb.

Bracelet; close up of cosmetic jar

Actual cosmetic jar found in Tut's tomb

The next; Tutankhamun & Ankhesenamun, wife of King Tutankhamun, she anoints her young husband in this image which forms the back of a gilded chair. She is the half-sister of Tutankhamun, daughter of Nefertiti and Akhenaten. The chair with this scene was discovered in his tomb.

Bracelet; close up of Tut and his lady

Actual image painted on guilded chair in King Tut's tomb

The central plaque is of King Tut himself! He is holding a crook and a flail. They were originally the attributes of the deity Osiris that became insignia of pharaonic authority. The shepherd's crook stood for kingship and the flail for the fertility of the land.

Bracelet; close up of Tut's sarcophagus

Tut's actual sarcophagus

Moving right along is a war scene showing Tut vanquishing Nubians and Syrians. Tutankhamun is in a chariot leading the Egyptian forces. This was painted on a wooden box also found in his tomb.

Bracelet; Close up of war scene

Actual wooden box in King Tut's tomb

Lastly a lovely Unguent vase. . Elongated vase flanked with floral openwork ornamentation, cut from a single block of alabaster. Presumably used as a perfume bottle which was also found in the tomb.

Bracelet; Close up of perfume bottle

Actual object in King Tut's Tomb

The story and the work make this just a wonderful piece of wearable history and we are lucky to have it in our shop.

THE GRAY LETTER

Our little shop is located located in Downtown Manhattan. We have full access to New York City’s famous diamond district, where heaps oftreasure hide behind the hustle and bustle of 47th street. With The Gray Letter, we hope to bring you a few of the fun facts, amazing images and fascinating histories surroundingthe antique jewels that walk through our door every day.

Gray & Davis: Antique & Custom Jewelry

Gray & Davis carries a unique selection of antique & vintage engagement rings and collector's jewelry from the Georgian, Victorian, Edwardian, Art Nouveau and Art Deco eras. We are also available for custom work and repairs.